Links to Open Access publications and self-archived files marked in green.
2025:
Voice and Orality. In Poetry in the Digital Age: An Interdisciplinary Handbook, edited by Claudia Benthien, Vadim Keylin and Henrik Wehmeier: 133-141. De Gruyter.
Sound Studies and Musicology. In Poetry in the Digital Age: An Interdisciplinary Handbook, edited by Claudia Benthien, Vadim Keylin and Henrik Wehmeier: 335-346. De Gruyter.
AI Creativity and Poetry (co-authored with Wiebke Vorrath). In Poetry in the Digital Age: An Interdisciplinary Handbook, edited by Claudia Benthien, Vadim Keylin and Henrik Wehmeier: 571-582. De Gruyter, 2025.
Künstliche Intelligenz, menschliche Stimme: Monika Rinck liest Monika Rinck [Artificial Intelligence, Human Voice: Monika Rinck Reads Monika Rinck] (co-authored with Rebecka Dürr). In Poetry, Music and Sound Art: Recent Medial Correlations / Lyrik, Musik und Klangkunst: neuere mediale Konstellationen, edited by Rebecka Dürr, Kira Henkel and Vadim Keylin. De Gruyter, 2025. 295-312. [In German]
Aesthetics and Politics of Participation in Benoît Maubrey’s Speaker Sculptures (co-authored with Benoît Maubrey). Leonardo 58.1: 37-43.
“Songs of despair and freedom.” An Interview with Sashko Protyah. Journal of Sonic Studies 27.
Intermediality And Text-to-Sound Transmutations. Interview with Maria Vilkovisky and Ruthia Jenrbekova of krëlex zentre. Journal of Sonic Studies 27.
2024:
“Be {B}{t}. Be poet”: Beatboxing as a Poetic Device (co-authored with Rebecka Dürr). In Literarische Organotechnik: Studien zu einer Diskurs- und Imaginationsgeschichte, edited by Lars Koch, Sarah Neelsen and Julia Prager: 239-255. De Gruyter.
“A Human Way to Talk”: Poetry and Synthetic Voice. In Proceedings of the 2023 Aarhus International Conference on Voice Studies, edited by Míša Hejná et al.: 79-83. De Gruyter/Sciendo.
KI-Lyrik aufführen: Ai-Da und Liza Gennart. In Audioliterary Poetry between Performance and Mediatization / Audioliterale Lyrik zwischen Performance und Mediatisierung, edited by Marc Matter , Henrik Wehmeier and Clara Cosima Wolff: 137-157. De Gruyter. [in German]
2023:
The lyric ear: On the intersubjective poetics of listening scores. Seismograf Peer 30.
Interactive and Participatory Sound. In The Palgrave Handbook of Intermediality, edited by Jørgen Bruhn, Asun López-Varela Azcárate and Miriam de Paiva Vieira: 1115-1133. Palgrave Macmillan.
Creative Agencies in Participatory Sound Art: Two Case Studies. Organised Sound 28/1: 13-24.
2022:
I make noise therefore I am: Aesthetics of sonic experimentation in participatory art and culture. In Sonic Engagement: The Ethics and Aesthetics of Community Engaged Audio Practice, edited by Sarah Woodland and Wolfgang Vachon: 177-189. Routledge.
2021:
Keylin, Vadim. Sound Acts: Towards a Sonic Pragmatism. Sound Studies 7/1: 83-99.
2020:
Postcritical Listening: Political Affordances in Participatory Sound Art. Organised Sound 25/3: 353-361.
Crash, Boom, Band: Affordances for Participation in Sound Art. SoundEffects 9/1: 98-115.
2019:
Medialities of Participation in Sound Art. In Cultures of Participation: Arts, Digital Media, and Cultural Institutions, edited by Birgit Eriksson, Carsten Stage and Bjarki Valtysson: 129-146. Routledge.
2018:
Politics of Participation in Benoit Maubrey’s Speaker Sculptures. In Invisible Places: Sound, Urbanism and Sense of Place, Proceedings, edited by Raquel Castro and Miguel Carvalhais: 93-100. Invisible Places.
Sound Art as Participatory Practice and Institutional Critique. Practices and Interpretations 2/4: 19-30.
Sound Sculptures in Public Space: Benoit Maubrey’s Speaker Sculptures. Urban Studies and Practices 2/4: 51-58. [In Russian]
2015:
Unauthored Music and Ready-Made Landscapes: Aeolian Sound Sculpture. Gli spazi della musica 4/2 (2015): 68-85.
Corporeality of Music and Sound Sculpture. Organised Sound 20/2: 182-190.
2014:
Electric Circuit as a Musical Instrument and a Graphic Score: Peter Vogel’s Sound Sculptures. Opera Musicologica 2/20 (2014): 39-50. [In Russian; English translation]